- published: 12 Sep 2015
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In music, a radio edit is a modification, typically truncated, to make a song more suitable for airplay, whether it be adjusted for length, profanity, subject matter, instrumentation, or form. Radio edits may also be used for commercial single versions, which may be denoted as the 7" version. However, not all "radio edit" tracks are played on radio.
Radio edits often shorten a long song in order to make it more commercially viable for radio stations. The normal length for songs played on the radio is 3 to 4 minutes. Occasionally, the song will simply fade out earlier, common on tracks with long instrumental endings. For instance, the radio edit of 'Heroes' by David Bowie fades in shortly before the beginning of the third verse and fades out shortly before the vocal vamping at the end of the song. Another example is B.o.B's song, "Nothin' On You" featuring Bruno Mars, whose radio edit skips the first 5 seconds & starts with the 6th second in which Bruno Mars starts singing the first chorus. The second half of the first chorus is sometimes skipped, along with the last 24 seconds which is the normal fade-out part in which B.o.B says, "Yeah, and that's just how we do it/And I'ma let this ride/B.o.B and Bruno Mars", and the radio edit ends with the fourth and last chorus with an earlier fade-out. A 3rd example would be the song, "The Man" by Aloe Blacc, in which the radio edit skips the "I'm the man/Go ahead & tell everybody/What I'm saying ya all" part & the first 10 seconds. Also, the 3rd chorus of the song is shortened. However, many radio edits will also edit out verses, bridges, and interludes, such as the original single edit of "Piano Man" by Billy Joel which substitutes the end of the third verse for the ending of the second verse. Another example for this case is Justin Timberlake's "Mirrors", where the radio edit cuts the entire "You are the love of my life" part.
Born to Die is the second studio album and major-label debut by American singer and songwriter Lana Del Rey. It was released on January 27, 2012 by Interscope Records, Polydor Records, and Stranger Records. Del Rey collaborated with producers including Patrik Berger, Jeff Bhasker, Chris Braide, Emile Haynie, Justin Parker, Rick Nowels, Robopop, and Al Shux to achieve her desired sound. Their efforts resulted in a primarily baroque pop record, which sees additional influences from alternative hip hop, indie pop and trip hop music.
Contemporary music critics were divided in their opinions of Born to Die; some commended its distinctive production, while its repetitiveness and melodramatic tendencies were a recurring complaint. The record debuted at number two on the U.S. Billboard 200 with first-week sales of 77,000 copies; it was later certified platinum by the Recording Industry Association of America (RIAA) after moving one million units. Born to Die reached the peak position on eleven international record charts, and has sold 8.5 million copies worldwide as of May 2015.
"Radio" is a song co-written and recorded by American country music artist Darius Rucker. It was released on July 22, 2013 as the third single from his album True Believers. Rucker wrote the song with Luke Laird and Ashley Gorley.
The song is a reflection on the narrator's teenage years: specifically, of borrowing his mother's car to take his girlfriend for a ride, and listening to songs on the radio while doing so.
The song generally received favorable reviews. Bobby Peacock of Roughstock gave the song four and a half stars out of five, saying that "it sounds like the kind of fun song you would want to hear on the radio at a memorable moment." Peacock praised Rucker's "all-smiles delivery" and the song's "incredibly catchy melody and tight production." He also compared its theme to "I Watched It All (On My Radio)" by Lionel Cartwright. Tammy Ragusa of Country Weekly gave the song an A grade, calling it "the perfect marriage of an artist’s effervescent personality with an upbeat song, this one about the love of music." Billy Dukes of Taste of Country gave the song two and a half stars out of five, writing that "the uptempo tribute to young love, open roads and, of course, the radio is familiar and easy to fall for, especially when powered by Rucker’s unequaled exuberance." However, Dukes also called the song "a little fluffy" and "not difficult to forget."
Not What You Expected is the sixth studio album from American pop punk band Mest, their first album in eight years with only vocalist Tony Lovato returning. Originally slated for released in April 2012, the album was continuously pushed back until September 24, 2013. A week before the release, the band announced via their official Facebook account and website that they would be giving the album away for free, one song per week, through their official website. However, internationally in Japan, the album was released in full.
The album's first single, "Almost," which had an accompanying music video, was released on February 14, 2012. The second single, "Radio (Something to Believe)," was released over a year later on June 4, 2013, which has also been made into a music video. Although not an official single, "One Life," was released for free during the summer of 2012 to hold fans over until the official release.
Passion is the sixth studio album by British extreme metal band Anaal Nathrakh. It was released on May 17, 2011, by Candlelight Records. The album features guest appearances by Drugzilla, Rainer Landfermann, Ventnor and Alan Dubin.
All lyrics written by Dave Hunt except where noted, all music composed by Mick Kenney except where noted.
Passion (re-released as Passion: Music for The Last Temptation of Christ) is an album released in 1989 by the English rock musician Peter Gabriel. It is his second soundtrack and eighth album overall. It was originally composed as the soundtrack album for the film The Last Temptation of Christ, but Gabriel spent several months after the film's release further developing the music, finally releasing it as a full-fledged album instead of a movie soundtrack. It is seen as a landmark in the popularisation of world music, and it won a Grammy Award for Best New Age Album in 1990. It was remastered with most of Gabriel's catalogue in 2002.
As the soundtrack for the film, Gabriel used the resources of the organization he founded, WOMAD, to bring together musicians from the Middle East, Africa, Europe and South Asia. He worked with them to create music meant to enhance the mood of the film, but also added a modern ambient musical touch to the original pieces, producing a musical work that has influenced many musicians in the years since its release. Passion introduced many listeners to such artists as Nusrat Fateh Ali Khan, Youssou N'Dour, L. Shankar, and Baaba Maal.
Passion is a musical with music and lyrics by Stephen Sondheim and a book by James Lapine. The story was adapted from Ettore Scola's film Passione d'Amore. Central themes include love, sex, obsession, illness, passion, beauty, power and manipulation. Passion is notable for being one of the few projects that Stephen Sondheim himself conceived, along with Sweeney Todd and Road Show.
Set in 19th century Italy, the plot concerns a young soldier and the changes in him brought about by the obsessive love of Fosca, his Colonel's homely, ailing cousin.
The story originally came from a 19th-century novel by Iginio Ugo Tarchetti, an experimental Italian writer who was prominently associated with the Scapigliatura movement. His book Fosca was a fictionalized recounting of an affair he'd once had with an epileptic woman when he was a soldier.
Sondheim first came up with the idea of writing a musical when he saw the Italian film in 1983:
As it turned out, Lapine was already exploring the idea of adapting Muscle, a memoir by Sam Fussell, for the musical stage. Together, they came up with the idea of a pair of double-billing one acts. Lapine wrote a couple of scenes and Sondheim had just started working on the opening number when he began to feel that his musical style was unsuitable for Muscle. The piece was more contemporary and, in his opinion, required a score reflecting pop sensibilities. He called up Lapine and suggested that he find another songwriter, perhaps William Finn, and include it as a companion piece. Meanwhile, they continued to work on Passion and as the piece grew, they found that it was enough to fill out an entire evening of theatre. Muscle was eventually shelved.
In music, a radio edit is a modification, typically truncated, to make a song more suitable for airplay, whether it be adjusted for length, profanity, subject matter, instrumentation, or form. Radio edits may also be used for commercial single versions, which may be denoted as the 7" version. However, not all "radio edit" tracks are played on radio.
Radio edits often shorten a long song in order to make it more commercially viable for radio stations. The normal length for songs played on the radio is 3 to 4 minutes. Occasionally, the song will simply fade out earlier, common on tracks with long instrumental endings. For instance, the radio edit of 'Heroes' by David Bowie fades in shortly before the beginning of the third verse and fades out shortly before the vocal vamping at the end of the song. Another example is B.o.B's song, "Nothin' On You" featuring Bruno Mars, whose radio edit skips the first 5 seconds & starts with the 6th second in which Bruno Mars starts singing the first chorus. The second half of the first chorus is sometimes skipped, along with the last 24 seconds which is the normal fade-out part in which B.o.B says, "Yeah, and that's just how we do it/And I'ma let this ride/B.o.B and Bruno Mars", and the radio edit ends with the fourth and last chorus with an earlier fade-out. A 3rd example would be the song, "The Man" by Aloe Blacc, in which the radio edit skips the "I'm the man/Go ahead & tell everybody/What I'm saying ya all" part & the first 10 seconds. Also, the 3rd chorus of the song is shortened. However, many radio edits will also edit out verses, bridges, and interludes, such as the original single edit of "Piano Man" by Billy Joel which substitutes the end of the third verse for the ending of the second verse. Another example for this case is Justin Timberlake's "Mirrors", where the radio edit cuts the entire "You are the love of my life" part.
Hey girl, is he everything you wanted in a man
You know I gave you the world
You had me in the palm of your hand
So why your love went away
I just can't seem to understand
Thought it was me and you babe
Me and you until the end
But I guess I was wrong
Don't want to think about her
Don't want to talk about her
I'm just so sick about her
Can't believe it's ending this way
Just so confused about her
Feeling the blues about her
I just can't do without ya
Tell me is this fair?
Is this the way it's really going down?
Is this how we say goodbye?
Should've known better when you came around
That you were gonna make me cry
It's breaking my heart to watch you run around
'Cause I know that you're living a lie
That's okay baby 'cause in time you will find...
What goes around, goes around, goes around
Comes all the way back around
What goes around, goes around, goes around
Comes all the way back around
What goes around, goes around, goes around
Comes all the way back around
What goes around, goes around, goes around
Comes all the way back around
Now girl, I remember everything that you claimed
You said that you were moving on now
And maybe I should do the same
Funny thing about that is
I was ready to give you my name
Thought it was me and you, babe
And now, it's all just a shame
And I guess I was wrong
Don't want to think about her
Don't want to talk about her
I'm just so sick about her
Can't believe it's ending this way
Just so confused about her
Feeling the blues about her
I just can't do without ya
Can you tell me is this fair?
Is this the way its really going down?
Is this how we say goodbye?
Should've known better when you came around (should've known better that you were gonna make me cry)
That you were going to make me cry
Now it's breaking my heart to watch you run around
'Cause I know that you're living a lie
That's okay baby 'cause in time you will find
What goes around, goes around, goes around
Comes all the way back around
What goes around, goes around, goes around
Comes all the way back around
What goes around, goes around, goes around
Comes all the way back around
What goes around, goes around, goes around
Comes all the way back around
What goes around comes around
Yeah
What goes around comes around
You should know that
What goes around comes around
Yeah
What goes around comes around
You should know that
Don't want to think about it (no)
Don't want to talk about it
I'm just so sick about it
Can't believe it's ending this way
Just so confused about it
Feeling the blues about it (yeah)
I just can't do without ya
Tell me is this fair?
Is this the way things are going down?
Is this how we say goodbye?
Should've known better when you came around (should've known better that you were gonna make me cry)
That you were going to make me cry
Now it's breaking my heart to watch you run around
'Cause I know that you're living a lie
But that's okay baby 'cause in time you will find
What goes around, goes around, goes around
Comes all the way back around
What goes around, goes around, goes around
Comes all the way back around
What goes around, goes around, goes around
Comes all the way back around
What goes around, goes around, goes around
Comes all the way back around
[Comes Around interlude:]
Let me paint this picture for you, baby
You spend your nights alone
And he never comes home
And every time you call him
All you get's a busy tone
I heard you found out
That he's doing to you
What you did to me
Ain't that the way it goes
When You cheated girl
My heart bleeded girl
So it goes without saying that you left me feeling hurt
Just a classic case
A scenario
Tale as old as time
Girl you got what you deserved
And now you want somebody
To cure the lonely nights
You wish you had somebody
That could come and make it right
But girl I ain't somebody with a lot of sympathy
You'll see
(What goes around comes back around)
I thought I told ya, hey
(What goes around comes back around)
I thought I told ya, hey
(What goes around comes back around)
I thought I told ya, hey
(What goes around comes back around)
I thought I told ya, hey
See?
You should've listened to me, baby
Yeah, yeah, yeah, yeah
Because
(What goes around comes back around)